1936, he became a member of the Liga de Escritores y Artistas Revolucionarios (LEAR), collaborating on an adult literacy project. In 1937, he was a founding member of the Taller de Gráfica Popular (TGP), dedicated to works with political and social themes, but was one of the few there that did not openly support communism through his work. He left TGP in 1940 when a dispute over the pricing of prints caused a schism. He rejoined for a short while, but left for the last time in 1944. Despite the conflicts, his work was included a 1946 TGP publication called “Mexican People” and participated in the group’s three shows in the United States. In 1948, he became a founding member of the Sociedad Mexicana de Grabadores, and in 1949 became involved with the Sociedad para el Impulso de las Artes Plásticas. In 1947 he published an album of ten prints from woodcuts, copied by hand. Ocampo had his first formal exhibition of his work in 1941 along with Gonzalo de la Paz Pérez and Raúl Anguiano. He exhibited his work in Mexico, the rest of the Americas, and Europe. For a number of years he exhibited his work with the Salón de la Plástica Mexicana, of which he was a member, and participated in inter-American Biennials in engraving and painting. His most important exhibitions include 20 Centuries of Mexican Art in New York (1938), Sociedad Mexicana de Grabadores in Tokyo (1959), Exhibition of Mexican Art at the Mexican Consulate General in San Antonio, Texas (1959), and Isidoro Ocampo, Maestro, grabador y pintor at the Palacio de Bellas Artes (1973) . Other art competitions he participated in include the III Bienal Interamericana de Pintura y Grabado in 1958-1960 and the II Bienal Americana de Grabado in 1965. Artistry Isidoro Ocampo was both a graphic artist and painter, but was best known for his graphic work. His formation as an artist was shaped by the then-dominant Mexican School of Painting, or Muralism Movement, with its emphasis on art as a political and social force. His work was strongly influenced by that of José Guadalupe Posada, Leopoldo Méndez and José Clemente Orozco in both theme and technique, with his graphic work compared to that of David Alfaro Siqueiros. Other influences included the works of Honoré Daumier, Francisco Goya, and Pablo Picasso. Both his graphic and easel works are Expressionistic, especially those with themes